The Bernoulli effect. That's how our vocal cords vibrate! Sir, you may have solved my problem with brass instruments. I'm a clarinetist who is also a band director. While I've had success teaching brass instruments (thank heavens for luck), I do not play them well. During graduate school, I took a vocal pedagogy class that delved into the anatomy of the throat, larynx, etc. One of the things I learned is that the vocal cords vibrate because of the Bernoulli effect. A vacuum is formed, and the cords are drawn together (a much lengthier explanation was described, of course). A double reed also works on this principle. Why on earth did this not come to mind when dealing with "buzzing" my lips. Thank you! I can't wait to go home and try this.
I'm not familiar with the Bernoulli effect but I will do some research. I think the overall concept to remember is that the lips vibrate sympathetic to the airstream. In brass playing, we usually put our lips in front of the air and blow them into position.
The Bernoulli effect is NOT primary to tone. ESPECIALLY on a brass instrument. That is just something non scientist repeat. The resonance of the full instrument and the pressure variations of the standing wave in the instrument is what sustains tone. Bernoulli effect is only of little to zero influence. (Most don't accurately understand Bernoulli laws including musicians and music "professors")
I agree with this 100%. The way you describe it is the only way I can get a really good sound. When I play, I feel my lips vibrate, but the top and bottom lip feel like they don’t touch regather in the middle of the embouchure. Thank for this fantastic presentation. For me buzzing the mouthpiece and playing the horn are not the same thing.
I started learning trombone recently (never played any brass before) and I found that the muscles either side of my mouth would be sore after practicing. Using your approach made me relax and eliminated the fatigue, plus as a bonus I felt my tone was much richer! Thank you for the great advice.
I am definetly a buzz player and I always wondered why my tone was so much different than a lot of the jazz trombonists that I've heard. I think I know why. I'll try to just blow and see what happens... Especially now that I'm older and struggling even to hit a high F, when that note was a piece of cake in the past!
Taking a new understanding into how you approach the instrument can change your sound. Allow the instrument to resonate instead of trying to create the sound. Good luck and happy practicing!
Basically, I really agree with this. I might quibble a bit here and there about terminology but you're right on it. I especially like this notion of releasing the air. I also like the analogy of a clarinet reed. The reed reacts to the moving air and begins to vibrate. Lips are similar. Nice video.
I found this video fascinating, and it had me thinking about my progression as a trombone player. My teacher in high school and middle school was against buzzing for the reasons you mentioned, and he definitely helped me avoid tension in my playing. When I got to college, my teacher noticed that my pitch would frequently start off center, and he had me work on a combination of mouthpiece buzzing and singing to work on it. He helped me discover that rather than hearing a given pitch in my head and nailing it, I had a tendency to approximate the pitch, play, and let the horn slot the note for me. This messed up my tone, my attacks, and my intonation. Buzzing on the mouthpiece exposed this since there are no partials to slot the pitch on the mouthpiece. So I think that sometimes, mouthpiece buzzing can help a student, but sometimes it can be a detriment. It's important to remember that every practice technique is like a prescription, and we always need to give the right medicine to the corresponding ailment. Antibiotics might work like a miracle on strep throat, but if you have a virus they might make things worse.
You are absolutely correct about the prescription. I think of the notes I write for my students in that exact manner. For me the biggest issue is when you tell a player to “buzz” their lips they do just that. Buzzing is an action that we create. If I tell the student “let your lips vibrate” there’s a good chance they are going to let that action happen. That is two totally different signals from the brain that can result in the same end product. The question becomes, what way of thinking is more efficient for the player. As a teacher I try to stress efficiency to create effectiveness.
I loved this. Great analogy as well. I'm gonna start my trombone journey tomorrow. I have no experience with Brass unless you wanna count saxophone like with the oxidation and spit valve and verdigris lol but it of t free instruments I've played, never actually PLAYED. A brass instrument other than a few sounds. I'm so excited
Like you I spent most of my career buzzing. Life is so much easier without!!! sound is so much nicer, and one can concentrate on the music, and expression! I love all your videos! Incredibly well done, they’ve all been of great help!!
Man, this is a huge help! I’ve been playing for 35 years. My high school teacher (a fantastic trombone player) studied with Matty Shiner at Duquesne in Pittsburgh. He was very old school, domineering in fact. He was a fanatic about buzzing. He made us incorporate it into long tone warm-ups…8 beats on the horn, 8 beats buzzing. My college trombone prof wasn’t like that but I was convinced I needed to do it to warm up properly. It never seemed to bother me. Fast forward 20+ years and I’m playing a lot of gigs and getting worn out so quickly. I felt like I was going backwards. I think all of the emphasis on the lips buzzing was getting into my head and making me work the embrasure too hard. This will take some getting used to but already feels more natural. Thank you!!!
I feel where you are coming from. Buzzing was an essential part of my warmup until it wasn't. Over the last several years i've had to rethink and relearn how to play a brass instrument. I've found this new approach to be far more efficient for me. Allowing the lips to vibrate instead of making them 'buzz" has made all the difference in my tone. I hope this concept is helpful for you as well.
You sir are an excellent instructor! I have studied with arguably the best orchestral trombonist on the planet and also with the greatest trombone soloist as well, and neither one of them could explain some of the basic technical aspects of playing the trombone in a way that is as accessible as what you present. Kudos to you and your teaching style, I think its wonderful!
I got a B.M.E. at the Univ. of Cincinnati with a trumpet major in 1974. No buzzing was discussed or required. Neither beforehand coming from San Francisco. Also never had any instruction about embouchure. I had a few trumpet lessons with Joseph Alessi Sr. (Joe Alessi's father) and he literally pounded the idea of "support" into me Stood me against a wall and pounded my stomach while I played a middle c on a b-flat trumpet. During my studies in Cincy, I fell in love with Baroque music, bought a piccolo trumpet and went to town. Using this idea of "support" I became a "high" player, and did a lot of 2nd Brandenburgs. Also rounded up a valveless "Baroque Trumpet". Then I went to Basel, Switzerland and studied with Edward Tarr. Learn a bunch from him about performance practice. I played for a buddy of his, Bo Nelson, who point blank asked me "How long do you think you can continue to play like that?" meaning, he though I was headed for an embouchure disaster. Well, he was right and wrong. The embouchure disaster came after caps I'd had on my front teeth fell off and my front teeth needed to be rebuilt. Next day I couldn't play a note. Bo's star student, Mark Sykes, was also with Ed and he helped me get my chops back together again. Buzzing. Buzzing. Buzzing. Weeks of only buzzing without the m-piece. Didn't go well, but I stuck to it. Then, we added the piece. Went better, but still not perfect. Then the horn, buzzing from the middle range into the pedal range. Never really worked well. I lost patience and kept buzzing, but also went back to playing music and noticed I'd lost over a fifth up top. Then gradually things started breaking down again and I developed a super tight throat. To the point I couldn't play at all any more. Ruined. I took 9 years off and only conducted and taught conducting. But then I wanted to actually make music again. But I figured, trumpet was done. French Horn would have been great, but ... I saw all the physical and mental problems coming back, so went to t-bone. Got a teacher who didn't believe in buzzing. His motto was, "go for the great, open sound. If it sounds great, you're most likely doing it right." That was in 1991. In 1996, I got an undergrad teaching diploma for teaching trombone and euphonium (different system here in Europe). A year before my exams, I bought a bass trombone and fell in love with it but didn't play it on the exams. It DID however give my tenor sound a much darker, richer sound with more core. I noticed a couple of my old "problems" creeping back in when going from the middle to the high range - tendancy to press too hard into the lips. But still no buzzing. I then "found" the Wedge mouthpieces and they forced me to pucker to get up high instead of pressing. My warm-up still consists of playing in the middle range and extending in both directions, always concentrating on acheiving a ringing, open, but dark, broad sound. And no buzzing. Buzzing may have helped to a certain degree coming back to playing ... until it didn't any more. Until it's side effects (tightened throat) became counter-productive. I've never even been tempted to take it up again. I now play mostly orchestral bass trombone or bass trombone in a chamber setting. Range from pedal D (below pedal b-flat) up to d above high b-flat, which, IMHO, is enough. Mark, who initially helped get me back together, the super-student of Bo's, in the meantime had dropped obligatory buzzing for all his students, also seeing, that some simply did better without buzzing. Kudos for accepting, that it may not be "the answer" for all people.
Thank you for sharing your journey and sorry to hear you got your stomach pounded, lol! We use what works until it doesn't work anymore. In my case having to re-evaluate how things worked was the best thing that happened to me. I will always be a student of the music.
The imagery you use really *resonates* with me. After listening to your explanation, the concept of passive lips allowing an airstream to do what it will as dictated by the natural laws of physics seems humorously obvious. It is very zen to me, turning over the assumption that sound is something we try and force from the instrument.
We as musicians can get very caught up in the “doing” and forget we are part of something much bigger. The magic happens when we let it happen not when we make it happen! I’m glad the video was helpful to you. 👍🏾
Thanks for the video. I’m a comeback trumpet player, off the horn for 35 years, back on it for about 8 weeks now. The question of, to buzz or not to buzz, has really bothered me. My private instructor is great, but he’s a young university student and hasn’t really been able to answer that question for me. I carry a mouthpiece in my car so I can buzz to and from work, but find that I have a lot of difficulty in getting any kind of tone out of the mouthpiece some days. I was convinced that my lips were broken 😂. Then I’d get home, grab the trumpet, and have a good practice session with no issues getting decent sounds out of the horn. Your explanation about how the vibrations of the lips works has really calmed my mind down about it all. I look forward to exploring some more of your videos to see what else might help with my comeback playing.
A lot of players get stuck at what’s going on with the lips. The vibration of the lips are just a part of the equation. When you let the air lead, the lips will follow!
This encouraged me enough to learn to play a brass instrument (a pocket trumpet), after some hesitation and horror about the embouchure. If the instrument can indeed be played in such a natural and relaxed manner, and you can basically "sing air through it" (as in your other video), I'm all in to learn its ways. Anyway, thanks for these videos - really helpful and inspiring! Have watched a lot, and have found your channel to be the most useful. Coming from someone with zero experience with wind instruments, but a solid musical background (classical/electric guitar, some piano, electronic stuff: synths, sampling, fx, producing, ...), and nearly 40 years of breathing. My hope is to learn to play the trumpet well enough to play it on some instrumental hip hop tracks (mostly simple slow improvised melodies), but also just to have fun learning and playing.
You can do it! Good luck on learning the trumpet. It actually is easier then we make it out to be but I only discovered that after working hard for 20 plus years. The beauty of music is, we never stop learning.
It’s actually amazing how much cleaner and effortless starting to play is when you’re not thinking about buzzing and just focused blowing through the horn and letting it do the rest of the work.
I am new to the trombone. But I wanted to mention, if you are not already doing this. Your teaching and writings of comments are such that I think you could be writing it in books, for the clarity you bring to the issues. God bless!
Thanks so much for the comment. I’ve been compiling my material and it will make it’s way into a book one day. That would be a great achievement for me.
Thank you. I am fairly new to trombone playing and initially struggled to remember to buzz. Often I would buzz at the beginning of my practice and then forget about it and just play the notes. Not knowing if I buzzed or not. Great video
I have been struggling with this. I am self taught and have never buzzed to play. But I felt as though I had to in order to play properly, and I really struggle with it. Now I know I dont have to. Brilliant- thankyou.
I'm glad the information was useful. Our lips have to vibrate in order to create a sound but we don't have to "buzz" them. The airstream is the leader, the lips follow.
I played Trombone (badly) in middle school. Nobody told me this stuff... at all. I quit before highschool and never touched a brass instrument again. My 11 year-old is going into middle school and chose Trumpet for band class. I am going to learn alongside him so maybe he won't get stuck like I did, so I ordered a Trumpet for myself and have been binge watching videos while I wait for it to arrive. This video, out of the dozens I've watched, has been the best instructional I've seen. Not just on embouchure but in the category of playing brass instruments as a whole. Subscribed. Thank you.
Thanks for subscribing and welcome to the family! I’m glad you’re giving brass playing another chance. I’ll be honest with you, I didn’t learn about playing a brass instrument this way until recently. A lot of different concepts have been emphasized over the last 40yrs that has led to things being taught a specific way. I’m glad these concepts have been helpful to you thus far. I cover many different topics on brass playing so please feel free to check out the other content. Continue to enjoy the learning experience with the little one. That’s an awesome journey to take together.
Thank you for sharing your rich experience. I am new to trombone playing. It is great that hear from your perspective. I think you have importantly brought our attention to the nature of our body (i.e. the mouth) and not forget the intuitiveness with which we can achieve sound without being frozen up by techniques in the head. Thank you so much.
Playing a brass instrument is more natural then we make it out to be. Finding the connection between ease and effectiveness can be challenging. I’m glad these strategies are helpful to you.
Hi Deon, thanks for that. I've just started with the Trombone. I'm definitely buzzing my lips. I've been walking around with the mouthpiece practicing to get a sound out of it. At this point it sounds impossible to do it your way but I'm getting the Trombone out to try.
After many years of playing the trombone I thought it was impossible to play this way as well, until I did it. The key for me was understanding the airstream is the leader, the lips follow. Allow your lips to vibrate creates a different action than buzzing.
For me the idea that the air is the first focus and not the lips, that there should be nothing that gets in the way of the flow, that the function of the embochure is to allow this to happen and that the free buzzing closes the opening contrary to what wanted.
Hey Dion, I just wanted to drop in and say that I really dig the approach you are taking with teaching. You and I have a very similar embrachure, and like you I buzzed (not a lot, but regularly) for at least 20 years. In the last few years however, I started only buzzing on the mouthpiece at the start of practicing, just to get the middle F dialed in. I watched this video, and I was reminded of my lessons with Hal Jenks, and he was of the same mind as you on the buzzing. So, for the past six months, I have decided to try no buzzing. Instead, I warm up by doing nothing but breath-attacked long-tones for 15 minutes. Man, my tone has gotten warmer and since I started thinking less about buzzing the note and just pushing the note out through my lips and out the bell, everything about my tone has gotten better and more focussed.
It absolutely is less stressful on the facial structure. We want everything working together to ultimately make things easier. Many times we end up shooting ourself in the foot by trying to “do something”.
My trombone teacher a few months ago told me almost that thing what you said in this video. To not think about forming an embouchure and bullshits like that, just blow that air to the horn and bumm my playing abilities started to improve and now I'm enjoying so much to play on my instrument. This "method" actually given me the last chance to think about a music career.
There are many methods to playing the horn. Some work better than others. We are all built different. I’m glad you found a method of playing that’s enjoyable for you!
its my second year of middle school and playing trombone going to third and i didnt even know i didnt buzz when i play i learned to buzz but as i started to try and open up and better my tome quality, i started to just blow i didnt even know until now nice to know thanks
This video (combined with a similar on by James Morrison) added about a tritone to my reliable range and noticeably improved my flexibility. A+ Seller. Would buy from again.
This was an absolutely terrific tutorial! As one who has experienced Focal Dystonia all of my adult life, and would dearly love to get around this problem now that I’m retired, I’ve been advised to try two things. The first: focus on the letter “M” and second: Paying close attention to mouthpiece placement. The point of your video, leaving the lips alone is something I’ve recently been exploring. Your video leaves me thinking I’m, kind of on the right track! Thanks!!
Thanks for checking out the video. What I’ve found in my journey is that our lips know what to do. We override that with “hey do this” which a lot of time gets in the way. The air has to find it’s way into the horn. Our lip formation should enhance the airflow. If that is not the case, we must explore a more efficient way.
@@TheChopsShop Without going in too much detail, something caught my eye in your video, that is moving the air and then adding the mouthpiece. Just as an experiment, I tried it. Almost immediately I changed the shape of the lips as I prepared to place the mouthpiece. A very natural feel occurred. So, I want to work with this a bit more. I’ll keep you up to date. Thanks again. BTW A few years back I consulted with Jan Kagarice. What a Gem she is!!!!!
Continue to explore efficiency. Our lips should be secondary in our thought process even though they serve a primary function. I’m glad you got a chance to work with Jan, she truly saved my career! Keep me posted on your journey, best of luck to you.
I tried 2 times in my Trombone live (30 years) to Buzz my mouthpiece, the last time was a couple of months ago, and it was for a longer time (6 weeks)...it has created more problems to my embouchure than benefits, nowadays, I'm trying to get back to my old nice sensations. Definitely, buzzing its not for me. Take Care Dion, great videos. PD: if it's not broken, dont fix it.
thank you so much for this - watched a few days ago and began practicing right away - has made all the difference in my confidence and relaxed approach - buzzing felt like hard work and I was guitting when I got frustrated - your method works soooooooo naturally - so glad I found your videos
One little tryout shows how right you are: Blow a low C or a G like you allways do. Then reduce the airflow without losing the tone - i other words - play the tone softer and softer until you barely have it. Keep the air flowing and remove your lips from the mouthpiece, and the vibration of the lips stop with the sound in the horn. Try to make a free buzz with the lips and the airstream you had just before you lost your tone. it is not possible. Keep the air flowing, and put your lips to the moutpiece, and the tone comes back in the horn. No buzzing neccessary. As for extending your range, no buzzing will help much. Instead practice the cromatic scale as high as you get, time and time again, until you tire. Gradually you will climb a half tone as your chops strengthen, and another half tone and another. There ain't no quick fix, just practisin'!
This video was extremely helpful. I've always let the air freely flow. I have trouble with high notes so I'm doing lots of long tones exercises to help develop that part of my playing.
Long tones are good for helping to develop range but be careful in the beginning. Start with just getting the note to respond first, then focus on the length of the note. All good high notes start as a squeak.
I'm a no-buzz euphonium player. I basically use the air pressure from my air support in combination of the resistance of my instrument to cause my lips to vibrate. I have never been able to get a good, consistent free buzzing sound, it always turns on and off when I try, so I don't bother with it... and it doesn't matter, I still play very well without buzzing.
This is great! I have been balancing between these two ways. With buzzing, I had more of that feeling of a single note, but with just blowing I got playing more relaxed. Like you, I have been buzzing for around 20 years trying to find the simplest way of thinking. This video made me go further with just blowing and it had an immediate impact. I have also been focusing on scales without thonguing and that steady airstream. After this videoand leaving the buzzing, I have noticed that this is the way and helps playing higher, longer and more relaxed. Also the sound is more open. I like how you can tell the things with the most clear way! It shows that you really have thought it and know what you are talking about! Greetings from Finland!
Thanks so much. I’m passionate about sharing the knowledge. I’m so glad these videos are helpful to you. Everything you described happens when we get out of our own way!
@@TheChopsShop After 20 years you have clear concept of sound. When you hear it from your horn, it gives you the feedback that you are now on the right track what ever you are doing. Have you taught a beginner with your current technic. Someone that is getting to know what is happening in the body when playing. Someone that is not yes shure how to sound. If you think of someone that would start playing, would this way of thinking work for him/her as well? I'm just wondering if you actually could jump straight ahead to this or if you need some steps before that.
@@MultiCBU I’m sorry I’m just seeing this comment. The answer is yes I absolutely would teach this technique to someone just starting to play. I haven’t started anyone from scratch yet but I know this concept will make it easier for them to create a good tone and not overthink the process.
@@raunoo.5320 Hello, I’m glad the video has made it’s way to you all the way in Finland. I’m great this concept resonates with you. Anything that can make our playing feel more natural is a good thing!
Completely agree with this! I also think that GENTLE buzzing as a warm up gets the lips 'working' but then when playing/performing let the lips vibrate passively.
The concept of the lips vibrating passively is difficult for many brass players to understand. We are often taught how to place our lips in front of the airstream. This was a difficult habit for me to break.
Great video, I personaly believe that letting the are flow gives the instrument more body and makes it feel warmer. Like you explain, buzzing the lips definitely creates more tension.
And this video has just made me decide to start playing an instrument I’ve always loved and been interested in learning! I’ve always wondered why that buzzing was necessary. I tried doing it during the video and the buzzing gives me a headache!
The sound of the trombone can get stuck in our head, there's no reason for it to stay there. Let the sound come out through the horn! I highly encourage you to explore the instrument and see if it's something that continues to speak to you once you play it. Playing a brass instrument can be tricky but it's not as hard as we perceive it to be. Sometimes thinking about how to buzz your lips can just get in the way of creating a great sound on the instrument.
Hey man, first of all, I bumped into your videos today and I can't stop watching, your videos are awesome. I've been watching and reading a lot about buzzing since I'm "pro" buzzing (actually free buzz) and it's such an controversial subject. I do something like 10 minutes at the beggining of my day as a way to strengthen my muscles, like a work out. As I'm not a musician (yet I hope), I have to suit my daily trombone practice routine in-between my spare time along the day, so there's a huge time to rest before actually playing the horn, like 4h+, normally I play after my shift. Well... the thing is... I'm 28 and I've been playing for almost 3 years. I didn't actually grow up stimulating this part of my body. For me it, developing range feels like if I were trying to make a ballet split at a "late age", I'll face much more dificulties than someone who's already done that or has been doing that since high school or something. That said, I perceive it more as an actual work out exercise in order to develop both strength and resistance. But I can be completely-absolutely-tripping about it and I'd like to know what do you think about my impressions.
I’m glad you found the channel and you’re enjoying the videos. I wouldn’t read too much into the fact that you have not been playing since you were young. What’s required to play the trombone is far less then what’s required to do a split. Our brains are ready to take on the task of learning something new so continue to feed it knowledge. There are different philosophies on buzzing, I say with any exercise, know what your trying to accomplish. Understand the difference between freebuzzing and how we actually play. It’s easy to lose sight of the fact that the lips vibrate as a result of the air passing through them not the other way around. You can get a lot done through mental practicing so even if you can’t play the horn still give your brain the reps mentally. You’ll be surprised how much you can learn with just mental practice. My advice would be come up with exercises that give you the most bang for your buck since practicing can’t always be your priority. Stay consistent and don’t be afraid to explore what techniques may work best for you.
@@TheChopsShop Mannnnn, thanks A LOT for your time and your response. Although I haven't stopped any of my music classes, it's been hard to "blind" practice during the pandemics since it's all online. What you said is very clarifying. I wish my currency wasn't so undervalued so I could take some online classes with you. I hope you come back to Brazil some time near !!! Thanks again !!! See you at chops shop
I hope to be back to Brazil some day. I would love to give some masterclass’s and do some performing, it’s truly one of my favorite places in the world. Until then, I’ll keep putting out useful content!
Fantastically intelligent and articulate presentation, this is golden information for aspiring trombonists and inspirational. Warm thanks to 'professor' Tucker, surely the coolest teacher on the planet? The idea of a mere adjustment in thought process creating efficiency of action and freedom of expression is beautiful and rings true: applicable elsewhere too, no doubt.
Thank you so much for the compliment. I’m trying to make playing brass instruments as easy as possible. It’s a pleasure to share my understanding of concepts that have been passed on to me.
The way I was taught to play trumpet und get a tone is by blocking the air stream with my tounge and then quickly pulling it back and thus allowing the air to quickly get into my instrument. No buzzing required :D On a different note, quite impressive how you do that buzz. I tried it and it didn't even work.
i buzz. but i will try this. i was just about to get silent brass and use pedals . but now i want to see if i can make some progress with the brass alone. i know thats what i really want to achieve. i was just plateauing. thanks chops
Do you know what it feels like walking around years and years, struggling with the embouchure, always producing freak notes on the instrument and just about the time you think I am done, I quit, one you day just click on the youtube and YES THERE IS THE ANSWERS OF EVERYTHING I YOU HAVE BEEN STRUGGLING WITH. At the first try I did by playing and changing my embouchure like you explained, I immediately experienced wonderful results. So my question is, where have you been all the time?
What a great compliment, thank you. I’m glad you found the channel and that the tips have been helpful to you. There’s plenty more to come, stay tuned!
I've been a subscriber to this theory for a while now, it is definitely tricky trying to get new players to understand and know what to do to create a tone on the instrument though.
Incredible stuff! Great info! Honestly, yeah. After years of playing my mouth would just automatically adjust as basic second nature or muscle memory and I end up never really thinking about it. 😅 sometimes my lips are just off and lethargic and they refuse to cooperate, but everyone has those days where you just can't get your body to work the way you want. Love all the detail and your chill, clearly explained lectures! Good stuff, man! 😁👍🏻
For me it was a question of finding the right balance between buzzing and blowing. When I ran into problems with my playing I found I tied myself up in knots trying to get things to work and ended up blowing too hard into the instrument. So I now buzz on the mouthpiece every day for at least ten minutes to make sure I can get a sound without forcing the air. When I put the mouthpiece in the instrument, then I can relax knowing my lips are able to vibrate freely without having to force. I think it is different for everyone depending in where they are at with their playing. If things are fine without mouthpiece buzzing, there is no issue, but as a remedial exercise, it can be very useful.
Brassed Off I think we are always learning. The relationship we have with what the air does in the lead pipe teaches the rest of the body. We feel it in our lips but a lot of times that’s where we choose to focus our attention.
I started using the Dizzie method. Blowing like Dizzie Gillespie on low Bb sliding down and back slowly & softly, using the legato tongue very lightly, going into false & pedal tones. Once the cheeks and lips felt good, then I go to Arpeggios, cheeks in, one octave, use Brad Edward's slurs book. The idea is to stretch the cheeks & lip before having them tighten when you blow up to higher octaves. I bring a silent mute to do Dizzie. It helps when I'm running late. Think, what does a jogger do before he runs? He'll stretch if he's smart. You help us , maybe this helps you. We gotta make the gig, or they'll leave us behind, with no rent money.
I've never heard of the "Dizzy" method. That's an interesting way to go about stretching the cheek muscles. I'm really more focused on warming up the entire system before playing. The lips are a part of the system but they are not the most important part. It's all about balance. A runner stretch's all the muscles in their body not just their legs.
Man,you're amazing, i have been thru 6 or 7 videos and only now i know how it produces sound; i did not know before if the thing had a reed in it,if the lips had to be making the sound(is that buzzing?) or what; people on youtube often forget to explain the basics for the one who knows nothing about the subject; I only play the radio ( and the amps and the 15 inchers...) but i really enjoyed to have my curiosity satisfied; be well.
This is a very interesting concept and it makes sense; it think that the tone sounds warmer for sure and my embouchure feels more relaxed. My question (as a percussionist and beginning band director), is how do you achieve accurate (and sharp) attacks and tonguing without dulling the beginning of the sound?
It’s important to remember, the tongue does not create the sound. It embellishes the airstream to create the sound of articulation. Accurate attacks are achieved by the notes speaking on time. The tongue can and will embellish the length of the attack but the notes speaking on time is more important. Have the students practice breath attacks. Add the tongue as required.
Very good video. Thanks. I am a come back trumpet player and I am doing a lot of mouthpiece buzzing trying to recover the chops endurance, mostly. Thanks for the explanation.
Welcome back to the horn. Learn the relationship between the lips vibrating, the air moving and the tone created. Everything must work together to make playing feel easy!
Thanks, I appreciate you checking out the content! To answer your other question that disappeared regarding buzzing, the lips have to vibrate when we play. There is a difference between observing the vibration of the lips and making the vibration happen as a result of what you do. If I say “buzz” your going to create that action. If I say “observe” your reaction will be different. Sometimes we need to be able to observe instead of telling our body’s what to do.
I never cease to be amazed that almost every brass teacher is fanatical about buzzing. The sound is not caused by buzzing. The lips resonate, ie, they react to the sound wave set up by causing turbulence in the cup when you blow. It is similar to whistling. You don't buzz to whistle.
@@davidyoung6834 many band directors aren’t brass players so they teach what they learned in a music ed course in college. That’s the root of the issue.
Bingo! The reeds of the woodwind instruments never think (actively) about vibrating, either. Rather, they are just vibrated (passively) by the air stream.
I picked up Trombone in 1970, after playing Trumpet starting in the seventh grade. How does an old bone player try and pick up playing again? I did a little schooling in college, did the Army, Navy, Marine school of musing for 6 months (Played Trombone in the Army). I am 66 years old now and want to pick up bone again? I practice about an hour a day. I have a day job. I would like to increase my range and work on improvisation. I do know of Curtis Fuller and J J Johnson.
I haven't really played since 42 years ago. Man I was in everything, Marching Band, wind ensemble, orchestra, and my favorite Jazz Rock ensemble. Just started again about 1 week ago. I'll have to try this out!. Also its a workout for my lungs to push all that air
I had never thought about this before, but I really learned something. I always warm up on the didgeridoo before practicing the bone. After watching this video, I noticed that I don’t buzz on the didge, so why buzz on the bone? I’m still getting used to it, but thanks for opening my eyes to this.
I’m glad this video resonates with you. Speaking of resonance, that’s the name of the game. Let the air create the resonance, allow the lips to vibrate sympathetically and your on your way to a great sound!
Excellent! Reminds me of the teaching of Bill Adam and now his students. They use the trumpet leadpipe and blow (not buzz) into it, which makes the sound.
I feel like it’s a mind thing. Your lips have to vibrate/buzz to make a sound, but the placement of the lips in the mouthpiece should help create the buzz depending on the setup and embouchure placement. I feel like if you end up getting to much air sound, it’s probably because the aperture is too big or you are not using enough air or consistent stream of air to support or sustain the vibration/buzz. It’s almost like a reed or a grass. The sound is created by the vibration with the air support, but the setup needs to be there, the reed or grass needs enough tension to support the vibration. For brass, the lips need to be setup well inside the mouthpiece to be able to have the sound to come out.
Like the idea of "just let the air flow " the lip buzz is going to happen when the mouthpiece contains the lips, keep the chops relaxed. Thank you for supporting this idea over lip buzzing. With that being said what works for you may not work for me and vice versa, enjoy just play on.
Our bodies respond to the instructions we give. Letting the lips vibrate instead of telling them to "buzz" has help my sound tremendously. I agree with you, whatever concept works, use it! Thanks for checking out the video.
What sort of routine do you go for to warm up, without buzzing? Straight into long tones, etc.? I've also heard people advocate for playing just handslide, no bell, as this is closer to the feeling of playing the full horn to warm up the muscles.
My warmup can vary some but usually it consists of singing, just weaving around the range with the air to get the feeling of the air moving. Then I’ll move to using the mouthpiece to funnel the air into the horn. I hold the mouthpiece about an inch away from the leadpipe opening. As I release the air I’m looking for where the air is making contact inside the leadpipe. I then plug the mouthpiece in the horn trying to match that feeling as I start to play the horn. I encourage the air to move freely and sit back and observe what’s happening. When it feels right, I match that feeling over and over again.
There are a lot of great players, like Allen Vizzutti, that are militantly anti-buzz. The moment I stopped trying to buzz, my range went through the roof! Do what you want, but no buzz 4 me.
I hear you, I had a similar experience. I don't disregard each player wanting to feel the vibration of the lips. I've found not focusing on what the lips are doing can lead to a lot of freedom!
I think of the "buzz" as when the airstream activates the tone. The muscles of the embouchure need to activate in order for a tone to be created as well. The important thing is to allow the airstream to guide you to "activation." Air leads, the lips follow.
I've been struggling to rebuild my playing after a few months of real issues (I don't know if I'd go so far as to call it dystonia, but it was really starting to feel that way). I also learned to play via the "M and blow" method, and I've noticed that it somehow developed into using your open aperture style for in the staff playing, and the more closed M style for anything above, which has given me a real issue connecting my range (I constantly have to reset my embouchure). Do you have any plans to discuss connecting ranges in the future? Thank you for your great videos, they have been a helpful, and comforting resource during these difficult times.
Sorry to hear about your chops issues. Your suggestion would be an interesting video topic. I should make a video addressing that issue. In the meantime think about how the lips function in the middle register. They are relaxed but as you make your way into the upper register you compensate and change your setup to what you think it needs to be. Bring your focus to what the air is doing, leave the lips out of the equation, they know what to do. Stay relaxed and keep a positive mindset in your journey. You can crack the code!
I don't actually think about this--playing the notes has become enough of a 'habit' that I just think about the note I want to play and it seems to come out because my lips seem to 'know' what to do. I play several kinds of brass instruments, and before I obtained them all, I bought some inexpensive Eastrock mouthpieces off eBay. One is a tuba mouthpiece, and I found I couldn't buzz well on it, but when I enclosed my hands around the end of the shank to create resistance, I found I could buzz. This looks like what happened when you put the rest of your trombone on the mouthpiece that caused you to play even though you weren't buzzing into the mouthpiece alone. BTW, when I got my tuba, I found I could buzz quite easily, although it's different, especially when playing the lowest notes, from playing a cornet, trumpet, alto horn, old-style mellophone with a French horn mouthpiece, trombone and baritone.
Even though I’m a clarinet player I can also do brass but I don’t think about buzzing I let it happen by blowing air and having my face set in the mouthpiece I still do an “M” to buzz I just don’t think or force it.
The Bernoulli effect. That's how our vocal cords vibrate! Sir, you may have solved my problem with brass instruments. I'm a clarinetist who is also a band director. While I've had success teaching brass instruments (thank heavens for luck), I do not play them well. During graduate school, I took a vocal pedagogy class that delved into the anatomy of the throat, larynx, etc. One of the things I learned is that the vocal cords vibrate because of the Bernoulli effect. A vacuum is formed, and the cords are drawn together (a much lengthier explanation was described, of course). A double reed also works on this principle. Why on earth did this not come to mind when dealing with "buzzing" my lips. Thank you! I can't wait to go home and try this.
I'm not familiar with the Bernoulli effect but I will do some research. I think the overall concept to remember is that the lips vibrate sympathetic to the airstream. In brass playing, we usually put our lips in front of the air and blow them into position.
The Bernoulli effect is NOT primary to tone. ESPECIALLY on a brass instrument. That is just something non scientist repeat. The resonance of the full instrument and the pressure variations of the standing wave in the instrument is what sustains tone.
Bernoulli effect is only of little to zero influence. (Most don't accurately understand Bernoulli laws including musicians and music "professors")
I agree with this 100%. The way you describe it is the only way I can get a really good sound. When I play, I feel my lips vibrate, but the top and bottom lip feel like they don’t touch regather in the middle of the embouchure. Thank for this fantastic presentation. For me buzzing the mouthpiece and playing the horn are not the same thing.
I’m glad the information resonated with you!
I started learning trombone recently (never played any brass before) and I found that the muscles either side of my mouth would be sore after practicing. Using your approach made me relax and eliminated the fatigue, plus as a bonus I felt my tone was much richer! Thank you for the great advice.
I’m glad the tips were useful for you. Sometimes we make playing a brass instrument more difficult then it needs to be.
I am definetly a buzz player and I always wondered why my tone was so much different than a lot of the jazz trombonists that I've heard. I think I know why. I'll try to just blow and see what happens... Especially now that I'm older and struggling even to hit a high F, when that note was a piece of cake in the past!
Taking a new understanding into how you approach the instrument can change your sound. Allow the instrument to resonate instead of trying to create the sound. Good luck and happy practicing!
Basically, I really agree with this. I might quibble a bit here and there about terminology but you're right on it. I especially like this notion of releasing the air. I also like the analogy of a clarinet reed. The reed reacts to the moving air and begins to vibrate. Lips are similar. Nice video.
I found this video fascinating, and it had me thinking about my progression as a trombone player. My teacher in high school and middle school was against buzzing for the reasons you mentioned, and he definitely helped me avoid tension in my playing. When I got to college, my teacher noticed that my pitch would frequently start off center, and he had me work on a combination of mouthpiece buzzing and singing to work on it. He helped me discover that rather than hearing a given pitch in my head and nailing it, I had a tendency to approximate the pitch, play, and let the horn slot the note for me. This messed up my tone, my attacks, and my intonation. Buzzing on the mouthpiece exposed this since there are no partials to slot the pitch on the mouthpiece. So I think that sometimes, mouthpiece buzzing can help a student, but sometimes it can be a detriment. It's important to remember that every practice technique is like a prescription, and we always need to give the right medicine to the corresponding ailment. Antibiotics might work like a miracle on strep throat, but if you have a virus they might make things worse.
You are absolutely correct about the prescription. I think of the notes I write for my students in that exact manner. For me the biggest issue is when you tell a player to “buzz” their lips they do just that. Buzzing is an action that we create. If I tell the student “let your lips vibrate” there’s a good chance they are going to let that action happen. That is two totally different signals from the brain that can result in the same end product. The question becomes, what way of thinking is more efficient for the player. As a teacher I try to stress efficiency to create effectiveness.
And everything in moderation.
I call it musical portion control. 😆
I loved this. Great analogy as well. I'm gonna start my trombone journey tomorrow. I have no experience with Brass unless you wanna count saxophone like with the oxidation and spit valve and verdigris lol but it of t free instruments I've played, never actually PLAYED. A brass instrument other than a few sounds. I'm so excited
Welcome to the brass family. Have fun with it, explore the sound and most importantly, don’t make it any harder then it needs to be.
Like you I spent most of my career buzzing. Life is so much easier without!!! sound is so much nicer, and one can concentrate on the music, and expression!
I love all your videos! Incredibly well done, they’ve all been of great help!!
I'm glad the videos have been helpful. Approaching the instrument as air resonator instead of a buzz amplifier made all of the difference to me.
Man, this is a huge help! I’ve been playing for 35 years. My high school teacher (a fantastic trombone player) studied with Matty Shiner at Duquesne in Pittsburgh. He was very old school, domineering in fact. He was a fanatic about buzzing. He made us incorporate it into long tone warm-ups…8 beats on the horn, 8 beats buzzing. My college trombone prof wasn’t like that but I was convinced I needed to do it to warm up properly. It never seemed to bother me. Fast forward 20+ years and I’m playing a lot of gigs and getting worn out so quickly. I felt like I was going backwards. I think all of the emphasis on the lips buzzing was getting into my head and making me work the embrasure too hard. This will take some getting used to but already feels more natural. Thank you!!!
I feel where you are coming from. Buzzing was an essential part of my warmup until it wasn't. Over the last several years i've had to rethink and relearn how to play a brass instrument. I've found this new approach to be far more efficient for me. Allowing the lips to vibrate instead of making them 'buzz" has made all the difference in my tone. I hope this concept is helpful for you as well.
You sir are an excellent instructor! I have studied with arguably the best orchestral trombonist on the planet and also with the greatest trombone soloist as well, and neither one of them could explain some of the basic technical aspects of playing the trombone in a way that is as accessible as what you present. Kudos to you and your teaching style, I think its wonderful!
Thank you so much for this amazing compliment. I’m glad the nomenclature resonates with you!
I got a B.M.E. at the Univ. of Cincinnati with a trumpet major in 1974. No buzzing was discussed or required. Neither beforehand coming from San Francisco. Also never had any instruction about embouchure. I had a few trumpet lessons with Joseph Alessi Sr. (Joe Alessi's father) and he literally pounded the idea of "support" into me Stood me against a wall and pounded my stomach while I played a middle c on a b-flat trumpet.
During my studies in Cincy, I fell in love with Baroque music, bought a piccolo trumpet and went to town. Using this idea of "support" I became a "high" player, and did a lot of 2nd Brandenburgs. Also rounded up a valveless "Baroque Trumpet". Then I went to Basel, Switzerland and studied with Edward Tarr. Learn a bunch from him about performance practice. I played for a buddy of his, Bo Nelson, who point blank asked me "How long do you think you can continue to play like that?" meaning, he though I was headed for an embouchure disaster. Well, he was right and wrong. The embouchure disaster came after caps I'd had on my front teeth fell off and my front teeth needed to be rebuilt. Next day I couldn't play a note.
Bo's star student, Mark Sykes, was also with Ed and he helped me get my chops back together again. Buzzing. Buzzing. Buzzing. Weeks of only buzzing without the m-piece. Didn't go well, but I stuck to it. Then, we added the piece. Went better, but still not perfect. Then the horn, buzzing from the middle range into the pedal range. Never really worked well. I lost patience and kept buzzing, but also went back to playing music and noticed I'd lost over a fifth up top. Then gradually things started breaking down again and I developed a super tight throat. To the point I couldn't play at all any more. Ruined.
I took 9 years off and only conducted and taught conducting. But then I wanted to actually make music again. But I figured, trumpet was done. French Horn would have been great, but ... I saw all the physical and mental problems coming back, so went to t-bone. Got a teacher who didn't believe in buzzing. His motto was, "go for the great, open sound. If it sounds great, you're most likely doing it right." That was in 1991. In 1996, I got an undergrad teaching diploma for teaching trombone and euphonium (different system here in Europe). A year before my exams, I bought a bass trombone and fell in love with it but didn't play it on the exams. It DID however give my tenor sound a much darker, richer sound with more core. I noticed a couple of my old "problems" creeping back in when going from the middle to the high range - tendancy to press too hard into the lips. But still no buzzing.
I then "found" the Wedge mouthpieces and they forced me to pucker to get up high instead of pressing. My warm-up still consists of playing in the middle range and extending in both directions, always concentrating on acheiving a ringing, open, but dark, broad sound. And no buzzing.
Buzzing may have helped to a certain degree coming back to playing ... until it didn't any more. Until it's side effects (tightened throat) became counter-productive. I've never even been tempted to take it up again. I now play mostly orchestral bass trombone or bass trombone in a chamber setting. Range from pedal D (below pedal b-flat) up to d above high b-flat, which, IMHO, is enough.
Mark, who initially helped get me back together, the super-student of Bo's, in the meantime had dropped obligatory buzzing for all his students, also seeing, that some simply did better without buzzing. Kudos for accepting, that it may not be "the answer" for all people.
Thank you for sharing your journey and sorry to hear you got your stomach pounded, lol! We use what works until it doesn't work anymore. In my case having to re-evaluate how things worked was the best thing that happened to me. I will always be a student of the music.
The imagery you use really *resonates* with me. After listening to your explanation, the concept of passive lips allowing an airstream to do what it will as dictated by the natural laws of physics seems humorously obvious. It is very zen to me, turning over the assumption that sound is something we try and force from the instrument.
We as musicians can get very caught up in the “doing” and forget we are part of something much bigger. The magic happens when we let it happen not when we make it happen! I’m glad the video was helpful to you. 👍🏾
Thanks for the video. I’m a comeback trumpet player, off the horn for 35 years, back on it for about 8 weeks now. The question of, to buzz or not to buzz, has really bothered me. My private instructor is great, but he’s a young university student and hasn’t really been able to answer that question for me. I carry a mouthpiece in my car so I can buzz to and from work, but find that I have a lot of difficulty in getting any kind of tone out of the mouthpiece some days. I was convinced that my lips were broken 😂. Then I’d get home, grab the trumpet, and have a good practice session with no issues getting decent sounds out of the horn. Your explanation about how the vibrations of the lips works has really calmed my mind down about it all. I look forward to exploring some more of your videos to see what else might help with my comeback playing.
A lot of players get stuck at what’s going on with the lips. The vibration of the lips are just a part of the equation. When you let the air lead, the lips will follow!
I didn't realize how extensive his presentations are.
I need this.
We all do.....
I'm glad the information was helpful!
This encouraged me enough to learn to play a brass instrument (a pocket trumpet), after some hesitation and horror about the embouchure. If the instrument can indeed be played in such a natural and relaxed manner, and you can basically "sing air through it" (as in your other video), I'm all in to learn its ways.
Anyway, thanks for these videos - really helpful and inspiring! Have watched a lot, and have found your channel to be the most useful. Coming from someone with zero experience with wind instruments, but a solid musical background (classical/electric guitar, some piano, electronic stuff: synths, sampling, fx, producing, ...), and nearly 40 years of breathing. My hope is to learn to play the trumpet well enough to play it on some instrumental hip hop tracks (mostly simple slow improvised melodies), but also just to have fun learning and playing.
You can do it! Good luck on learning the trumpet. It actually is easier then we make it out to be but I only discovered that after working hard for 20 plus years. The beauty of music is, we never stop learning.
It’s actually amazing how much cleaner and effortless starting to play is when you’re not thinking about buzzing and just focused blowing through the horn and letting it do the rest of the work.
When we don’t interfere with the airstream a lot of magic can happen. Resonance is the key.
I am new to the trombone. But I wanted to mention, if you are not already doing this. Your teaching and writings of comments are such that I think you could be writing it in books, for the clarity you bring to the issues. God bless!
Thanks so much for the comment. I’ve been compiling my material and it will make it’s way into a book one day. That would be a great achievement for me.
Thank you. I am fairly new to trombone playing and initially struggled to remember to buzz. Often I would buzz at the beginning of my practice and then forget about it and just play the notes. Not knowing if I buzzed or not. Great video
There are definitely different schools of thoughts on this concept. I feel blessed to have experienced both.
I have been struggling with this. I am self taught and have never buzzed to play. But I felt as though I had to in order to play properly, and I really struggle with it. Now I know I dont have to. Brilliant- thankyou.
I'm glad the information was useful. Our lips have to vibrate in order to create a sound but we don't have to "buzz" them. The airstream is the leader, the lips follow.
Excellent and eye opening explanation. I was a buzzer but since I saw your video I am a convinced not buzzer. THANK YOU!
This is an amazing method, I can also apply this to trumpet.
You sir are a saint.
I'm so glad you found this video helped. Thanks for watching.
Thanks sir, you have cleared the confusion of buzzing and original wind blowing.
I’m glad this video helped bring clarity to the subject.
New concept for me. I will try it, and not just for a day or week. Thanks.
Hopefully this concept will be useful to your playing.
Tank you for this.
I’m starting to play trumpet. I was confused about exactly this. No longer confused.
Really helpful.
Pete
Awesome, I’m glad the information was helpful to you!
Yes Dion, I do agree with you. Like Brad say, the lips react to the airstream and begin to vibrate. Good video! I keep watching for more!
Sven Larsson thanks for watching! Much more to come.
Excellent! So well explained! I always used to buzz until I saw Christian Lindberg’s video.
John Gilbert I’m glad this concept resonated with you. It really makes things a lot easier.
I played Trombone (badly) in middle school. Nobody told me this stuff... at all. I quit before highschool and never touched a brass instrument again.
My 11 year-old is going into middle school and chose Trumpet for band class. I am going to learn alongside him so maybe he won't get stuck like I did, so I ordered a Trumpet for myself and have been binge watching videos while I wait for it to arrive.
This video, out of the dozens I've watched, has been the best instructional I've seen. Not just on embouchure but in the category of playing brass instruments as a whole.
Subscribed. Thank you.
Thanks for subscribing and welcome to the family! I’m glad you’re giving brass playing another chance. I’ll be honest with you, I didn’t learn about playing a brass instrument this way until recently. A lot of different concepts have been emphasized over the last 40yrs that has led to things being taught a specific way. I’m glad these concepts have been helpful to you thus far. I cover many different topics on brass playing so please feel free to check out the other content. Continue to enjoy the learning experience with the little one. That’s an awesome journey to take together.
Thank you for sharing your rich experience. I am new to trombone playing. It is great that hear from your perspective. I think you have importantly brought our attention to the nature of our body (i.e. the mouth) and not forget the intuitiveness with which we can achieve sound without being frozen up by techniques in the head. Thank you so much.
Playing a brass instrument is more natural then we make it out to be. Finding the connection between ease and effectiveness can be challenging. I’m glad these strategies are helpful to you.
Hi Deon, thanks for that. I've just started with the Trombone. I'm definitely buzzing my lips. I've been walking around with the mouthpiece practicing to get a sound out of it. At this point it sounds impossible to do it your way but I'm getting the Trombone out to try.
After many years of playing the trombone I thought it was impossible to play this way as well, until I did it. The key for me was understanding the airstream is the leader, the lips follow. Allow your lips to vibrate creates a different action than buzzing.
Hey Dion, of the videos you've made, this is perhaps the most revealing.
Thank you for watching. What did this video reveal to you?
For me the idea that the air is the first focus and not the lips, that there should be nothing that gets in the way of the flow, that the function of the embochure is to allow this to happen and that the free buzzing closes the opening contrary to what wanted.
That’s a lot of good information you picked up. I’m glad this video helped you paint a picture for yourself. 😉
Hey Dion, I just wanted to drop in and say that I really dig the approach you are taking with teaching. You and I have a very similar embrachure, and like you I buzzed (not a lot, but regularly) for at least 20 years. In the last few years however, I started only buzzing on the mouthpiece at the start of practicing, just to get the middle F dialed in. I watched this video, and I was reminded of my lessons with Hal Jenks, and he was of the same mind as you on the buzzing. So, for the past six months, I have decided to try no buzzing. Instead, I warm up by doing nothing but breath-attacked long-tones for 15 minutes. Man, my tone has gotten warmer and since I started thinking less about buzzing the note and just pushing the note out through my lips and out the bell, everything about my tone has gotten better and more focussed.
That’s fantastic, I’m glad the tips in the video have been useful! The results will always teach us the correct path to follow.
What a fantastic way to think about it and it seems less stress on the the embouchure and face.
It absolutely is less stressful on the facial structure. We want everything working together to ultimately make things easier. Many times we end up shooting ourself in the foot by trying to “do something”.
My trombone teacher a few months ago told me almost that thing what you said in this video. To not think about forming an embouchure and bullshits like that, just blow that air to the horn and bumm my playing abilities started to improve and now I'm enjoying so much to play on my instrument. This "method" actually given me the last chance to think about a music career.
There are many methods to playing the horn. Some work better than others. We are all built different. I’m glad you found a method of playing that’s enjoyable for you!
its my second year of middle school and playing trombone going to third and i didnt even know i didnt buzz when i play i learned to buzz but as i started to try and open up and better my tome quality, i started to just blow i didnt even know until now nice to know thanks
Keep up the good work. Don't overthink the process and have fun with it.
I'm just starting to play the trombone and this was great info!! thnks
Welcome to the trombone family!
@@TheChopsShop coming from the sax family, I feel like visiting the cousins
This video (combined with a similar on by James Morrison) added about a tritone to my reliable range and noticeably improved my flexibility. A+ Seller. Would buy from again.
Awesome, let air lead, the lips will follow! I’m glad the tips were useful to your playing.
Great explanation!
Thanks for watching!
This was an absolutely terrific tutorial! As one who has experienced Focal Dystonia all of my adult life, and would dearly love to get around this problem now that I’m retired, I’ve been advised to try two things. The first: focus on the letter “M” and second: Paying close attention to mouthpiece placement. The point of your video, leaving the lips alone is something I’ve recently been exploring. Your video leaves me thinking I’m, kind of on the right track! Thanks!!
Thanks for checking out the video. What I’ve found in my journey is that our lips know what to do. We override that with “hey do this” which a lot of time gets in the way. The air has to find it’s way into the horn. Our lip formation should enhance the airflow. If that is not the case, we must explore a more efficient way.
@@TheChopsShop Without going in too much detail, something caught my eye in your video, that is moving the air and then adding the mouthpiece. Just as an experiment, I tried it. Almost immediately I changed the shape of the lips as I prepared to place the mouthpiece. A very natural feel occurred. So, I want to work with this a bit more. I’ll keep you up to date. Thanks again. BTW A few years back I consulted with Jan Kagarice. What a Gem she is!!!!!
Continue to explore efficiency. Our lips should be secondary in our thought process even though they serve a primary function. I’m glad you got a chance to work with Jan, she truly saved my career! Keep me posted on your journey, best of luck to you.
Good stuff, and thanks, Dion!
It’s my pleasure to share the knowledge.
Awesome Dude! You make a great point...
I’m glad the information resonates with you. Thanks for watching!
I tried 2 times in my Trombone live (30 years) to Buzz my mouthpiece, the last time was a couple of months ago, and it was for a longer time (6 weeks)...it has created more problems to my embouchure than benefits, nowadays, I'm trying to get back to my old nice sensations. Definitely, buzzing its not for me. Take Care Dion, great videos.
PD: if it's not broken, dont fix it.
That’s right if it’s not broken leave it alone. We can outthink ourselves sometimes.Thanks for checking out the videos!
You are amazing! May God give you health and strength to teach many!
thank you so much for this - watched a few days ago and began practicing right away - has made all the difference in my confidence and relaxed approach - buzzing felt like hard work and I was guitting when I got frustrated - your method works soooooooo naturally - so glad I found your videos
Fantastic, I’m glad the information made things more natural for you. The more natural, the better. Thanks for watching the videos!
One little tryout shows how right you are: Blow a low C or a G like you allways do. Then reduce the airflow without losing the tone - i other words - play the tone softer and softer until you barely have it. Keep the air flowing and remove your lips from the mouthpiece, and the vibration of the lips stop with the sound in the horn.
Try to make a free buzz with the lips and the airstream you had just before you lost your tone. it is not possible. Keep the air flowing, and put your lips to the moutpiece, and the tone comes back in the horn. No buzzing neccessary.
As for extending your range, no buzzing will help much. Instead practice the cromatic scale as high as you get, time and time again, until you tire. Gradually you will climb a half tone as your chops strengthen, and another half tone and another. There ain't no quick fix, just practisin'!
This video was extremely helpful. I've always let the air freely flow. I have trouble with high notes so I'm doing lots of long tones exercises to help develop that part of my playing.
Long tones are good for helping to develop range but be careful in the beginning. Start with just getting the note to respond first, then focus on the length of the note. All good high notes start as a squeak.
@@TheChopsShop Thank you...I will incorporate this into my practice sessions.
I'm a no-buzz euphonium player. I basically use the air pressure from my air support in combination of the resistance of my instrument to cause my lips to vibrate. I have never been able to get a good, consistent free buzzing sound, it always turns on and off when I try, so I don't bother with it... and it doesn't matter, I still play very well without buzzing.
The sound will let you know if you're doing thing correctly. If it's not broken, don't try to fix it!
This is great! I have been balancing between these two ways. With buzzing, I had more of that feeling of a single note, but with just blowing I got playing more relaxed. Like you, I have been buzzing for around 20 years trying to find the simplest way of thinking. This video made me go further with just blowing and it had an immediate impact. I have also been focusing on scales without thonguing and that steady airstream. After this videoand leaving the buzzing, I have noticed that this is the way and helps playing higher, longer and more relaxed. Also the sound is more open. I like how you can tell the things with the most clear way! It shows that you really have thought it and know what you are talking about! Greetings from Finland!
Thanks so much. I’m passionate about sharing the knowledge. I’m so glad these videos are helpful to you. Everything you described happens when we get out of our own way!
@@TheChopsShop After 20 years you have clear concept of sound. When you hear it from your horn, it gives you the feedback that you are now on the right track what ever you are doing. Have you taught a beginner with your current technic. Someone that is getting to know what is happening in the body when playing. Someone that is not yes shure how to sound. If you think of someone that would start playing, would this way of thinking work for him/her as well? I'm just wondering if you actually could jump straight ahead to this or if you need some steps before that.
Here is another trombonist from Finland who likes to thank you. The things that you told sound so correct and natural. Thank you!
@@MultiCBU I’m sorry I’m just seeing this comment. The answer is yes I absolutely would teach this technique to someone just starting to play. I haven’t started anyone from scratch yet but I know this concept will make it easier for them to create a good tone and not overthink the process.
@@raunoo.5320 Hello, I’m glad the video has made it’s way to you all the way in Finland. I’m great this concept resonates with you. Anything that can make our playing feel more natural is a good thing!
Very interesting. I will need to experiment with this for my euphonium playing.
Give this concept a shot! Let the horn do it’s job, that’s to resonate. Happy practicing!
ABSOLUTELY. I have played with this concept for a while now and it opened up so much for me.
Roy Agee for me as well! As long as I don’t “get in the way” things work much easier.
Completely agree with this! I also think that GENTLE buzzing as a warm up gets the lips 'working' but then when playing/performing let the lips vibrate passively.
The concept of the lips vibrating passively is difficult for many brass players to understand. We are often taught how to place our lips in front of the airstream. This was a difficult habit for me to break.
Great video, I personaly believe that letting the are flow gives the instrument more body and makes it feel warmer. Like you explain, buzzing the lips definitely creates more tension.
The instrument has a job to do and that is resonate. We don’t need to get in the way of that process. Thanks for checking out the video.
And this video has just made me decide to start playing an instrument I’ve always loved and been interested in learning! I’ve always wondered why that buzzing was necessary. I tried doing it during the video and the buzzing gives me a headache!
The sound of the trombone can get stuck in our head, there's no reason for it to stay there. Let the sound come out through the horn! I highly encourage you to explore the instrument and see if it's something that continues to speak to you once you play it. Playing a brass instrument can be tricky but it's not as hard as we perceive it to be. Sometimes thinking about how to buzz your lips can just get in the way of creating a great sound on the instrument.
@@TheChopsShop Oh I’m definitely going to start this journey, and I just subscribed so I can get this top shelf game from an expert. Thank you my man.
Fantastic insights.. man...appreciate....! and Subscribed !
Great, thanks for supporting the channel!
Hey man, first of all, I bumped into your videos today and I can't stop watching, your videos are awesome.
I've been watching and reading a lot about buzzing since I'm "pro" buzzing (actually free buzz) and it's such an controversial subject.
I do something like 10 minutes at the beggining of my day as a way to strengthen my muscles, like a work out.
As I'm not a musician (yet I hope), I have to suit my daily trombone practice routine in-between my spare time along the day, so there's a huge time to rest before actually playing the horn, like 4h+, normally I play after my shift.
Well... the thing is... I'm 28 and I've been playing for almost 3 years. I didn't actually grow up stimulating this part of my body.
For me it, developing range feels like if I were trying to make a ballet split at a "late age", I'll face much more dificulties than someone who's already done that or has been doing that since high school or something. That said, I perceive it more as an actual work out exercise in order to develop both strength and resistance.
But I can be completely-absolutely-tripping about it and I'd like to know what do you think about my impressions.
I’m glad you found the channel and you’re enjoying the videos. I wouldn’t read too much into the fact that you have not been playing since you were young. What’s required to play the trombone is far less then what’s required to do a split. Our brains are ready to take on the task of learning something new so continue to feed it knowledge. There are different philosophies on buzzing, I say with any exercise, know what your trying to accomplish. Understand the difference between freebuzzing and how we actually play. It’s easy to lose sight of the fact that the lips vibrate as a result of the air passing through them not the other way around. You can get a lot done through mental practicing so even if you can’t play the horn still give your brain the reps mentally. You’ll be surprised how much you can learn with just mental practice. My advice would be come up with exercises that give you the most bang for your buck since practicing can’t always be your priority. Stay consistent and don’t be afraid to explore what techniques may work best for you.
@@TheChopsShop Mannnnn, thanks A LOT for your time and your response. Although I haven't stopped any of my music classes, it's been hard to "blind" practice during the pandemics since it's all online. What you said is very clarifying. I wish my currency wasn't so undervalued so I could take some online classes with you. I hope you come back to Brazil some time near !!! Thanks again !!! See you at chops shop
I hope to be back to Brazil some day. I would love to give some masterclass’s and do some performing, it’s truly one of my favorite places in the world. Until then, I’ll keep putting out useful content!
@@TheChopsShop awesome. I live in Rio and definately could help you out on doing this masterclasses and so !!! :D
Until then, let's keep it up !!
@@rafaelbraz2170 I look forward to that day. Stay safe until then!
hey man don't stop the videos.
In the process of editing some new content!
Fantastically intelligent and articulate presentation, this is golden information for aspiring trombonists and inspirational. Warm thanks to 'professor' Tucker, surely the coolest teacher on the planet? The idea of a mere adjustment in thought process creating efficiency of action and freedom of expression is beautiful and rings true: applicable elsewhere too, no doubt.
Thank you so much for the compliment. I’m trying to make playing brass instruments as easy as possible. It’s a pleasure to share my understanding of concepts that have been passed on to me.
Dion, great instructional videos, keep them coming. Thank you
I absolutely will keep the videos coming! Thanks for watching Marco.
I was always taught by my band director to do this and I can say that it's far more efficient than just buzzing
You had a good band director. Was he/she a brass player? Often times we learn how to play brass instruments from non brass players.
@@TheChopsShop He was not, in fact he played the oboe in highschool
Ah, I see. Well, good on him for allowing you all to develop a nice free flowing airstream.
The way I was taught to play trumpet und get a tone is by blocking the air stream with my tounge and then quickly pulling it back and thus allowing the air to quickly get into my instrument. No buzzing required :D
On a different note, quite impressive how you do that buzz. I tried it and it didn't even work.
I buzzed for many years when I was younger. It feels a little strange now but I understand where it's coming from.
This blows my mind. Going to try it tonight. Im not sure how I would hit high notes without “buzzing”.
Let your lips vibrate in the upper register. The air is the teacher, the lips are along for the ride!
i buzz. but i will try this. i was just about to get silent brass and use pedals . but now i want to see if i can make some progress with the brass alone. i know thats what i really want to achieve. i was just plateauing. thanks chops
Explore, have fun with it. Let your sound lead you in the direction you need to go.
Do you know what it feels like walking around years and years, struggling with the embouchure, always producing freak notes on the instrument and just about the time you think I am done, I quit, one you day just click on the youtube and YES THERE IS THE ANSWERS OF EVERYTHING I YOU HAVE BEEN STRUGGLING WITH. At the first try I did by playing and changing my embouchure like you explained, I immediately experienced wonderful results. So my question is, where have you been all the time?
What a great compliment, thank you. I’m glad you found the channel and that the tips have been helpful to you. There’s plenty more to come, stay tuned!
Great video and great insight!
Glad it was helpful!
I've been a subscriber to this theory for a while now, it is definitely tricky trying to get new players to understand and know what to do to create a tone on the instrument though.
Klarke Trezise It may be tricky mentally in the beginning but I think the long term benefits are well worth it.
Incredible stuff! Great info! Honestly, yeah. After years of playing my mouth would just automatically adjust as basic second nature or muscle memory and I end up never really thinking about it. 😅
sometimes my lips are just off and lethargic and they refuse to cooperate, but everyone has those days where you just can't get your body to work the way you want. Love all the detail and your chill, clearly explained lectures! Good stuff, man! 😁👍🏻
Thanks for checking out the content. I'm glad you found the information useful.
For me it was a question of finding the right balance between buzzing and blowing. When I ran into problems with my playing I found I tied myself up in knots trying to get things to work and ended up blowing too hard into the instrument. So I now buzz on the mouthpiece every day for at least ten minutes to make sure I can get a sound without forcing the air. When I put the mouthpiece in the instrument, then I can relax knowing my lips are able to vibrate freely without having to force. I think it is different for everyone depending in where they are at with their playing. If things are fine without mouthpiece buzzing, there is no issue, but as a remedial exercise, it can be very useful.
Brassed Off I think we are always learning. The relationship we have with what the air does in the lead pipe teaches the rest of the body. We feel it in our lips but a lot of times that’s where we choose to focus our attention.
@@TheChopsShop Certainly agree about the learning! As I get back to normal, I am hoping to reduce mouthpiece buzzing. Thanks for the video.
I started using the Dizzie method. Blowing like Dizzie Gillespie on low Bb sliding down and back slowly & softly, using the legato tongue very lightly, going into false & pedal tones. Once the cheeks and lips felt good, then I go to Arpeggios, cheeks in, one octave, use Brad Edward's slurs book. The idea is to stretch the cheeks & lip before having them tighten when you blow up to higher octaves. I bring a silent mute to do Dizzie. It helps when I'm running late. Think, what does a jogger do before he runs? He'll stretch if he's smart. You help us , maybe this helps you. We gotta make the gig, or they'll leave us behind, with no rent money.
I've never heard of the "Dizzy" method. That's an interesting way to go about stretching the cheek muscles. I'm really more focused on warming up the entire system before playing. The lips are a part of the system but they are not the most important part. It's all about balance. A runner stretch's all the muscles in their body not just their legs.
I would agree. Some players swear by buzzing; others don't use it at all.
great video!
Thanks for checking it out!
Man,you're amazing, i have been thru 6 or 7 videos and only now i know how it produces sound; i did not know before if the thing had a reed in it,if the lips had to be making the sound(is that buzzing?) or what; people on youtube often forget to explain the basics for the one who knows nothing about the subject;
I only play the radio ( and the amps and the 15 inchers...) but i really enjoyed to have my curiosity satisfied; be well.
Thanks for checking out the video. I’m glad you found it informative. 🙏🏾
I teach this too. It’s a Bill Adam technique. We don’t have to physically buzz to start a sound.
bebopmomma That’s correct. It’s a difficult concept to understand if you’re used to thinking the other way around.
This is a very interesting concept and it makes sense; it think that the tone sounds warmer for sure and my embouchure feels more relaxed. My question (as a percussionist and beginning band director), is how do you achieve accurate (and sharp) attacks and tonguing without dulling the beginning of the sound?
It’s important to remember, the tongue does not create the sound. It embellishes the airstream to create the sound of articulation. Accurate attacks are achieved by the notes speaking on time. The tongue can and will embellish the length of the attack but the notes speaking on time is more important. Have the students practice breath attacks. Add the tongue as required.
Very interesting and extremely well explained.
Thanks for watching, I’m glad you enjoyed the content!
Very good video. Thanks. I am a come back trumpet player and I am doing a lot of mouthpiece buzzing trying to recover the chops endurance, mostly. Thanks for the explanation.
Welcome back to the horn. Learn the relationship between the lips vibrating, the air moving and the tone created. Everything must work together to make playing feel easy!
thank you
You're welcome!
You're an amazing teacher. Keep up the great work!
Thanks, I appreciate you checking out the content! To answer your other question that disappeared regarding buzzing, the lips have to vibrate when we play. There is a difference between observing the vibration of the lips and making the vibration happen as a result of what you do. If I say “buzz” your going to create that action. If I say “observe” your reaction will be different. Sometimes we need to be able to observe instead of telling our body’s what to do.
Thank you for explaining this so well!
It’s my pleasure, I’m glad you found the information useful!
Really good video. Thanks.
Thanks for watching!
Very clear and informative!
I’m glad the information was useful to you.
I never cease to be amazed that almost every brass teacher is fanatical about buzzing. The sound is not caused by buzzing. The lips resonate, ie, they react to the sound wave set up by causing turbulence in the cup when you blow. It is similar to whistling. You don't buzz to whistle.
@@davidyoung6834 many band directors aren’t brass players so they teach what they learned in a music ed course in college. That’s the root of the issue.
thank you very much
You're welcome!
Thank you mister
No problem! I’m glad to share the information
Thank you for confirming that there is no need to buzz your lips or mouthpiece to produce a tone in a brass instrument.
Our lips must vibrate but we don’t have to buzz them. There’s a difference that can lead to a lot of mental and physical freedom.
Moltes gràcies!
No problem!
Bingo! The reeds of the woodwind instruments never think (actively) about vibrating, either. Rather, they are just vibrated (passively) by the air stream.
100% correct. It all comes down to where we focus our attention. It usually works better when we don’t try and just let it happen.
I picked up Trombone in 1970, after playing Trumpet starting in the seventh grade. How does an old bone player try and pick up playing again? I did a little schooling in college, did the Army, Navy, Marine school of musing for 6 months (Played Trombone in the Army). I am 66 years old now and want to pick up bone again? I practice about an hour a day. I have a day job. I would like to increase my range and work on improvisation. I do know of Curtis Fuller and J J Johnson.
The horn is always waiting for us to embrace its presence.
I haven't really played since 42 years ago. Man I was in everything, Marching Band, wind ensemble, orchestra, and my favorite Jazz Rock ensemble. Just started again about 1 week ago. I'll have to try this out!. Also its a workout for my lungs to push all that air
Thanks! I don’t buzz and it works!
If it ain't broken, don't try to fix it! Thanks for checking out the video.
I had never thought about this before, but I really learned something. I always warm up on the didgeridoo before practicing the bone. After watching this video, I noticed that I don’t buzz on the didge, so why buzz on the bone? I’m still getting used to it, but thanks for opening my eyes to this.
I’m glad this video resonates with you. Speaking of resonance, that’s the name of the game. Let the air create the resonance, allow the lips to vibrate sympathetically and your on your way to a great sound!
Excellent!
Reminds me of the teaching of Bill Adam and now his students. They use the trumpet leadpipe and blow (not buzz) into it, which makes the sound.
Blowing into the leadpipe is a technique I use as well. It really helps your body learn how to move the air efficiently.
I feel like it’s a mind thing. Your lips have to vibrate/buzz to make a sound, but the placement of the lips in the mouthpiece should help create the buzz depending on the setup and embouchure placement. I feel like if you end up getting to much air sound, it’s probably because the aperture is too big or you are not using enough air or consistent stream of air to support or sustain the vibration/buzz. It’s almost like a reed or a grass. The sound is created by the vibration with the air support, but the setup needs to be there, the reed or grass needs enough tension to support the vibration. For brass, the lips need to be setup well inside the mouthpiece to be able to have the sound to come out.
Like the idea of "just let the air flow " the lip buzz is going to happen when the mouthpiece contains the lips, keep the chops relaxed. Thank you for supporting this idea over lip buzzing. With that being said what works for you may not work for me and vice versa, enjoy just play on.
Our bodies respond to the instructions we give. Letting the lips vibrate instead of telling them to "buzz" has help my sound tremendously. I agree with you, whatever concept works, use it! Thanks for checking out the video.
What sort of routine do you go for to warm up, without buzzing? Straight into long tones, etc.? I've also heard people advocate for playing just handslide, no bell, as this is closer to the feeling of playing the full horn to warm up the muscles.
My warmup can vary some but usually it consists of singing, just weaving around the range with the air to get the feeling of the air moving. Then I’ll move to using the mouthpiece to funnel the air into the horn. I hold the mouthpiece about an inch away from the leadpipe opening. As I release the air I’m looking for where the air is making contact inside the leadpipe. I then plug the mouthpiece in the horn trying to match that feeling as I start to play the horn. I encourage the air to move freely and sit back and observe what’s happening. When it feels right, I match that feeling over and over again.
at the moment I am a buzzing trumpeter,
will experiment with the "open method".....
🎺🚀🎺🎺🚀🎺🚀🚀
Let me know how the more open setting effects your playing.
@@TheChopsShop 👍
There are a lot of great players, like Allen Vizzutti, that are militantly anti-buzz. The moment I stopped trying to buzz, my range went through the roof! Do what you want, but no buzz 4 me.
I hear you, I had a similar experience. I don't disregard each player wanting to feel the vibration of the lips. I've found not focusing on what the lips are doing can lead to a lot of freedom!
Thankkkk you soo much
How do you make a difference between the free flowing, "natural" buzz, and just blowing air through the instrument without producing a tone?
I think of the "buzz" as when the airstream activates the tone. The muscles of the embouchure need to activate in order for a tone to be created as well. The important thing is to allow the airstream to guide you to "activation." Air leads, the lips follow.
I've been struggling to rebuild my playing after a few months of real issues (I don't know if I'd go so far as to call it dystonia, but it was really starting to feel that way). I also learned to play via the "M and blow" method, and I've noticed that it somehow developed into using your open aperture style for in the staff playing, and the more closed M style for anything above, which has given me a real issue connecting my range (I constantly have to reset my embouchure). Do you have any plans to discuss connecting ranges in the future? Thank you for your great videos, they have been a helpful, and comforting resource during these difficult times.
Sorry to hear about your chops issues. Your suggestion would be an interesting video topic. I should make a video addressing that issue. In the meantime think about how the lips function in the middle register. They are relaxed but as you make your way into the upper register you compensate and change your setup to what you think it needs to be. Bring your focus to what the air is doing, leave the lips out of the equation, they know what to do. Stay relaxed and keep a positive mindset in your journey. You can crack the code!
Great video! What kind of cut depth and rim shape are most comfortable for such style of playing? Or doesn't matter? Thanks
I don't actually think about this--playing the notes has become enough of a 'habit' that I just think about the note I want to play and it seems to come out because my lips seem to 'know' what to do.
I play several kinds of brass instruments, and before I obtained them all, I bought some inexpensive Eastrock mouthpieces off eBay. One is a tuba mouthpiece, and I found I couldn't buzz well on it, but when I enclosed my hands around the end of the shank to create resistance, I found I could buzz. This looks like what happened when you put the rest of your trombone on the mouthpiece that caused you to play even though you weren't buzzing into the mouthpiece alone. BTW, when I got my tuba, I found I could buzz quite easily, although it's different, especially when playing the lowest notes, from playing a cornet, trumpet, alto horn, old-style mellophone with a French horn mouthpiece, trombone and baritone.
The embouchure for a brass instrument is very instinctual. Sometimes we tend to overthink the process.
@@TheChopsShop Thanks; that a great way to describe it!🙂
Even though I’m a clarinet player I can also do brass but I don’t think about buzzing I let it happen by blowing air and having my face set in the mouthpiece I still do an “M” to buzz I just don’t think or force it.
I'm already a musician - just bought a plastic trombone hoping to play some Ska - maybe this is the secret I'm looking for?
There are no secrets in this game! 😉 I'm glad to share the knowledge.